The Holy Rosary

The Holy Rosary

Title

The Holy Rosary

[cda 2019]

Painting on wood (lime wood, transferred to a new wooden panel)

Medium

Painting on wood (lime wood, transferred to a new wooden panel)

Christoph Bellot in: [Exner 2015, 957, Fn. 364]

The panel shows a wreath of roses, occupying the entire pictorial space. It consists of five times ten white roses divided into the five decades of the rosary by five larger red roses. Christ on the cross is positioned at the centre of the gilded inner area of the wreath

The panel shows a wreath of roses, occupying the entire pictorial space. It consists of five times ten white roses divided into the five decades of the rosary by five larger red roses. Christ on the cross is positioned at the centre of the gilded inner area of the wreath and cloud bands indicate the hierarchy in heaven: God the Father and the Holy Ghost are represented at the top above the cross, beneath them at the left the intercessory Virgin, at the right an angel; at the left under the horizontal member of the cross are representatives of the Old Testament (David, Moses and St John the Baptist) and at the right the apostles and the evangelists, beneath them at the left male saints (Sts Christopher, Erasmus, Lawrence and the Holy Innocents) and at the right the Latin Fathers, Sts Henry II, Sebald, Francis etc., beneath these are female saints either side of the cross (at the left among others Sts Catherine, Barbara and Apollonia, at the right Kunigunde and others). A choir of nine angels encircles the saints within the wreath. In the lower section of the painting 'the earth' is represented by an expansive landscape; members of the clerical estate (Pope [Leo X ?], a cardinal, a bishop, priests and other clergy) kneel at the left under the wreath of roses, while representatives of the worldly estate (with Emperor [Maximilian?], a prince and the bourgeoisie) are shown at the right.

Christoph Bellot in: [Exner 2015, 957]

Attributions
Lucas Cranach the Elder and Workshop
middle german

Attributions

Lucas Cranach the Elder and Workshop

[cda 2019]

middle german

[https://virtueller-domrundgang.eo-bamberg.de/; accessed 26-03-2019]

Production date
about 1515 - 1520

Production date

about 1515 - 1520

[https://virtueller-domrundgang.eo-bamberg.de/; accessed 26-03-2019]

Dimensions
Dimensions of support: 190 x 147 cm

Dimensions

  • Dimensions of support: 190 x 147 cm

  • Christoph Bellot in: [Exner 2015, 955]

Owner
Erzbistum Bamberg
Repository
Bamberger Dom St. Peter und St. Georg
Location
Bamberg
CDA ID
DE_BD_NONE-BD001
FR (1978) Nr.
FR-none
Persistent Link
https://lucascranach.org/en/DE_BD_NONE-BD001/

Provenance

  • the early history of the painting is not documented. It has been in the cathedral since at least the beginning of the 18th century, contrary to the unsubstantiated, generally quoted assumption that it was originally from the Dominican church in Bamberg and was transferred to the cathedral after the secularisation of the church. In 1649/50 the panel was probably integrated in the new design of the St Maurice altar in front the St Peter's choir. It is evidently the painting on the altar referred to as a good piece of painting ('gute[n] Stuck von Marlerey') in the list of altarpieces from the second half of the 18th century. In 1831 it is described as a very diligently painted altarpiece in Burgkmaier's style, a wreath of roses (the rosary) with saints ('sehr fleißig gemaltes Altarblatt in Burgkmaiers Geschmack, den Rosenkranz mit allen Heiligen vorstellend'). The whereabouts of the panel is unknown before 1650
  • 1806/07 the Rosary painting was installed on the St Maurice altar
  • 1842 it was fixed in a neogothic frame and moved to the altar in the St Gertrude chapel
  • in 1974 when the above chapel was converted into the sacrament chapel and a tabernacle was placed on the mensa the panel was fixed in a marbled black frame with a pedestal
    Christoph Bellot in: [Exner 2015, 955-957]

Exhibitions

Munich 1972

Literature

Reference on page Catalogue Number Figure / Plate
Exner 2015 955-957
EditorMatthias Exner
TitleDie Kunstdenkmäler von Oberfranken. Stadt Bamberg, Domberg. 1. Das Domstift. Teil 2: Ausstattung, Kapitelsbauten, Domschatz
SeriesDie Kunstdenkmäler von Bayern
VolumeIV
Place of PublicationMunich
Year of Publication2015
Exhib. Cat. Bamberg 1987 42-46 No. 10
EditorDiözesanmuseum Bamberg
TitleDie Altäre des Bamberger Doms von 1012 bis zur Gegenwart [zu d. Ausstellung d. Diözesanmuseums Bamberg aus Anlass d. 750. Wiederkehr d. Domweihe vom 9. Mai - 27. September 1987]
Place of PublicationBamberg
Year of Publication1987
Exhib. Cat. Munich 1972
EditorCharlotte Angeletti, Michael Petzet
TitleBayern, Kunst und Kultur [Stadtmuseum Munich, 9. June - 15. Oct. 1972]
Place of PublicationMunich
Year of Publication1972

Research History / Discussion

The painting belongs to a group of images, depicting the subject in this manner, that are found almost exclusively in Franconia between 1500 and about 1530. The earliest examples are woodcuts printed in Bamberg (in about 1500 and 1503), woodcuts created in 1515 by Hans von Kulmbach and Erhart Schön were formative for this tradition. The painted, almost never carved, panels always followed the same design with the same hierarchy for both altarpieces and epitaphs; and generally relied on printed prototypes. However, in all cases they exhibit slight individual variations, like the number and choice of saints, or the elaboration of single motifs. The iconographic tradition suggests that similar to other examples of this type the cropped top of the Bamberg panel would have originally exhibited spandrels depicting two scenes, probably the Mass of St Gregory and the Stigmatization of St Francis. These are represented in the woodcuts from 1515 that also show rare representations of the estates of the realm.

Christoph Bellot in: [Exner 2015, 957]

  • The Holy Rosary, about 1515 - 1520

Images

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Technical studies

03. 2019Technical examination / Scientific analysis

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Underdrawing

DESCRIPTION

Tools/Material:

- fluid, black medium, brush

Type/Ductus:

- freehand, detailed underdrawing; probably after a pre-existing design

- delicate to somewhat broader lines

- a compass was used to scored the circumference of the roses

- possibly some washes

- isolated hatching strokes

Function:

- relatively binding for the final painted version; the lines delineate the main contours and describe essential details and facial features; isolated representation of volume with hatching strokes and washes

Deviations:

- minor corrections were made to forms during the painting process; small changes (e. g. the position of the eyes)

INTERPRETATION

Attribution:

- not possible

[Sandner, Smith-Contini, Heydenreich, cda 2019]

  • photographed by Ingo Sandner
  • photographed by Gunnar Heydenreich

Condition Reports

Date2015

  • cropped at the top and sides. [...] It is possible that it was cropped in the 17th century when it was placed on the altar. The top of the panel may have been rounded to align it with other altars in the cathedral. [...] in 1973/74 it was transferred to a new wooden support.

Christoph Bellot in: [Exner 2015, 955, 957]

Conservation History

Date1973 - 1974

1973/74 the painting was restored by Hermann Wiedl, Nuremberg, conservation treatment and transferred to a new wooden support. After damage suffered during the exhibition 'Bayern. Kunst und Kultur' in Munich 1972 the painting that was on a cradled lime wood panel was transferred to a new sized wooden support; Weidl, estimate, 1974 as well as letters from 2. August 1973 and 25. November 1974: BLfD, archiv, Ortsakt Dom.

Christoph Bellot in: [Exner 2015, 957, fn. 364]

  • conservation treatment by Hermann Weidl

Date1820

Restored in 1820. Treatment carried out by the painter Josef Dorn, paid for by Joseph Heller: StadtAB D 3001 HV 3, Nr. 760-793

Christoph Bellot in: [Exner 2015, 956, 957, fn. 362]

  • conservation treatment by Josef Dorn

Citing from the Cranach Digital Archive

Entry with author
<author's name>, 'The Holy Rosary', <title of document, data entry or image>. [<Date of document or image>], in: Cranach Digital Archive, https://lucascranach.org/en/DE_BD_NONE-BD001/ (Accessed {{dateAccessed}})
Entry with no author
'The Holy Rosary', <title of document, data entry or image>. [<Date of document, entry or image>], in: Cranach Digital Archive, https://lucascranach.org/en/DE_BD_NONE-BD001/ (Accessed {{dateAccessed}})

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